photo of Dr. Andrew GayedDr. Andrew Gayed is an Egyptian-Canadian art historian and researcher interested in queer theory, Middle Eastern contemporary art, identity politics, and migration/diaspora studies. Gayed holds a PhD in Art History and Visual Culture from York University, and holds an M.A. in Art History, and a B.F.A. in Visual Arts. As a lecturer and contract professor of Islamic Art and Architecture, his historical research is linked to Middle Eastern contemporary art with a focus on political artwork being produced by the diasporic community. Gayed's research is located at the cutting edge of interdisciplinary and transnational inquiry in art history, gender studies, and cultural studies. The 2018 Osgoode Law research fellow in Transnationalism and Human rights, Gayed has been the recipient of notable awards including the SSHRC Joseph-Armand Bombardier Doctoral Award, a SSHRC Joseph-Armand Bombardier Masters Award, and the Ontario Graduate Scholarship. Gayed has published journal articles and book chapters on wide-ranging themes, including: contemporary art of the diaspora, museum studies, queer artistic practices, and global art histories. Gayed has developed this research at conferences and keynotes internationally at U.C. Berkley, Harvard University, Duke University, the British Museum and Oxford University on two occasions, in addition to presentations and keynotes before Canadian audiences.

photo of Dr. Melanie WilminkDr. Melanie Wilmink holds a PhD in Visual Art & Art History from York University (Toronto), with honours such as the 2014 Elia Scholars Award and a 2015 SSHRC Doctoral Fellowship. She completed her MA in Interdisciplinary Studies (Film and Visual Arts) at the University of Regina, where she was a research assistant on Dr. Christine Ramsay’s SSHRC funded “Atom Egoyan In Media Res” exhibition project, and was awarded a Joseph-Bombardier Canada Graduate Masters Scholarship in 2013. With a dissertation focus on the inter-connectivity between spectatorial experience and exhibition spaces, her ongoing research emerged during her role programming for the Calgary Society of Independent Filmmakers, as well as her independent curating practice including the Situated Cinema project; in camera (Pleasure Dome, 2015) and Winter Warmer (Sidewalk Labs Toronto, 2019). She is the co-editor of the anthology Sculpting Cinema (2018) with Solomon Nagler. For more information see:

Photo credit: David Pike

photo of Jessica MaceJessica Mace

Jessica Mace, Ph.D. is an art and architectural historian whose current research explores concepts of modernity and heritage in the architecture of the late-nineteenth to mid-twentieth centuries, particularly in urban and industrial contexts. 
Her recent publications include the book Identity on the land: Company towns in Canada (co-authored with Lucie K. Morisset, Montréal: Éditions Patrimonium, 2020), and Heritage communities (co-edited with Myriam Joannette, Québec: Presses de l’Université du Québec, 2019).
Since 2015, Dr Mace has also been the Editor in Chief of the Journal of the Society for the Study of Architecture in Canada, the only peer-reviewed publication on the subject in Canada. Relatedly, she serves on the board of directors of the Society for the Study of Architecture in Canada, and on the executive committee of the Association of Critical Heritage Studies.

Positions held:

2017-Present: Sessional Instructor, York University
2016-Present: Sessional Instructor, OCAD University
2015-Present: Editor in Chief, Journal of the Society for the Study of Architecture in Canada
2015-Present: Postdoctoral Fellow, in collaboration with the Canada Research Chair in Urban Heritage, Université du Québec à Montréal

Gabrielle Moser

I chose York University for both of my graduate programs because of its interdisciplinary approach to the study of art history and visual culture, the broad range of expertise of the faculty, and the incredible opportunities for professional development and to gain teaching experience. I completed my MA in Art History with a diploma in Curatorial Studies in 2009, and had the chance to undertake an apprenticeship working with curator Helena Reckitt at The Power Plant, who has since become a long-term mentor, collaborator and friend. While completing my master’s degree, I also worked as Assistant Editor at Canadian Art magazine, which allowed me to immerse myself in publishing, gaining valuable editing and project management skills and connecting with curators and artists across the country.

When I decided to undertake PhD work, I had a specific project in mind: one that would require a multidisciplinary perspective and many months of archival research to complete. York’s art history and visual culture program allowed me to design a course of study and research that made that project possible, and the results are currently in press as a book with Penn State University Press. The PhD also gave me the advantage of gaining valuable teaching experience on campus, which lead to my current position at OCAD University, where I teach art history and curatorial practice. My time at York gave me the skills and expertise to pursue the many branches of art historical practice—from teaching, project management and academic publishing, to working as an independent art critic and curator.

Positions held:
2017–present, Assistant Professor, Art History, Faculty of Liberal Arts and Sciences and School of Interdisciplinary Studies, OCAD University
2017, Fulbright Visiting Scholar, Modern Culture and Media, Brown University
2016-2017, Postdoctoral Fellow, Art History, University of British Columbia
2011–2013, Project Manager, The Photographic Situation Project, 3-year Social Sciences and Humanities Research Council of Canada (SSHRC)-funded partnership development grant, University of Toronto
2007–2010, Assistant Editor, Canadian Art magazine

Charlene Lau

The PhD programme in Art History and Visual Culture offered me the flexibility to pursue a contemporary topic in the expanded field of art and its history. I received exceptional mentorship and guidance from faculty members in conducting my research on the link between the historical artistic avant-garde and contemporary fashion vanguard. As well, I was able to receive support for my interdisciplinary project from a growing base of fashion scholars within the York community and Toronto more broadly. Courses were theoretically rigorous, framing art history as a critical practice and providing me with the opportunity to generate innovative and meaningful scholarship. The programme gave me a solid foundation for my academic career—research, writing and teaching—building upon my professional experience in art writing and publishing, and public and private galleries and museums. Upon graduation, this led me to a two-year position as Post-Doctoral Fellow in Material and Visual Culture at the Parsons School of Design in New York.

Meghan Bissonnette

I was attracted to the MA program because of its flexibility and emphasis on contemporary art and theory. I entered the first cohort of the PhD program, and decided to pursue a career in academia. Working with Dan Adler as my advisor also shaped my interests in modern art and historiography. Three years after graduation, I’ve just started my first tenure track position. I work at a primarily undergraduate institution where the typical course load is 4/4, and service and research are also expected. It’s very demanding, but I love it. As the only full-time art historian, I can shape the art history program, while mentoring art history majors. I am also the director of the campus art gallery, which involves administrative work, programming, and curating exhibitions. York prepared me for the demands of academia, where I’m expected to wear multiple hats. As a grad student, I was a Teaching Assistant and Course Director for a range of art history courses, I completed an internship at the AGO, and worked at the Justina M. Barnicke Gallery—this combination of teaching and gallery experience was an asset for both of my positions post-grad. Organizing the annual grad symposium and workshops through the Teaching Commons were also valuable opportunities that complemented my coursework.

Positions held:
2015-2017, Lecturer of Art History, Valdosta State University, Valdosta, Georgia
2017-present, Assistant Professor of Art History and Art Gallery Director, Colorado Mesa University, Grand Junction, Colorado


Meghan Bissonnette is interested in contemporary art and sculpture. Her major research project investigated the historiography of American sculptor David Smith and how reviews of his work reflected contemporary constructions of American identity. Meghan received her Bachelor of Fine Arts and Bachelor of Arts degrees from the Nova Scotia College of Art and Design.

Miriam Boruchova’s major research project explored a series by contemporary American artist Dana Schutz entitled The Self-Eaters and The People Who Love Them using approaches from Freudian, Lacanian and Kleinian psychoanalysis. In particular, Miriam identified Schutz’s critique of irrational, self-effacing and narcissistic culture through the artist’s use of self-cannibalism. After graduating, she plans to continue pursuing a career in curatorial practice. Miriam received an Honours Bachelor of Fine Arts from York University.

Nicholas Brown’s major research paper examined the role of re-enactment in the interactive community art projects of British artist Jeremy Deller. Nick has interned with curator Gerald McMaster at the Art Gallery of Ontario, the Art Gallery of York University, and with Jessica Bradley Art + Projects. He is the art critic for Color magazine and has written for The Fillip ReviewLocus Suspectus, and C Magazine. Nick received his Bachelor of Arts degree in English Literature and Art History from the University of British Columbia.

Gabriele Cole’s major research paper examined the use of replicas and the presence of forgeries within modern museum collections. Her research was informed by an internship with the Society for the Study of Egyptian Antiquities, where she travelled to Canadian museums and galleries to view and document their Egyptian collections, many of which are reproductions or forgeries made for tourists. Gabriele completed her Bachelor of Arts with a major in Near Eastern Archaeology and Fine Arts at Wilfrid Laurier University, where she curated a small collection of artifacts.

Kathlene Edwards is interested in European art and history, in particular Impressionism, as well as museum theory and cultural studies. She has worked at the Guelph Arts Council, the Macdonald Stewart Art Centre, volunteered for various arts festivals and apprenticed in the Prints and Drawings department at the Art Gallery of Ontario. Her major research project focused on a case study of the AGO’s 2004 exhibition Turner, Whistler, Monet: Impressionist Visions. She completed her Honors Bachelor of Arts in Art History at the University of Guelph.

Eva Feldman’s research interests include contemporary Hungarian art that draws on folk art traditions, current shifting museological practices and the artist as celebrity. Her major research paper focused on the oeuvre of British artist Sam Taylor-Wood that re-imagines so-called “masterpieces” from the traditional canon of art in order to highlight and undermine the problematic ideologies associated with them. Eva has interned at the Royal Ontario Museum, with appraisers at Contemporary Fine Arts Services and with the Inuit department at Waddington’s Auction House. She completed an Honours Bachelor’s degree in Art History and French at McMaster University.

Carla Garnet’s research examined three bodies of work by the American artist Suzy Lake through the lens of feminist and semiotic theory. Carla was the founder/director of Garnet Press Gallery and has written reviews for Canadian Art, C magazine and Mix. Her exhibition 18 Illuminations: Contemporary Artists and Light toured nationally to eight museums across Canada and another, Allyson Mithcell’s Ladies Sasquatch Gathering, will be presented at the McMaster Museum of Art in 2009 and tour to the Winnipeg Art Gallery, the University of Lethbridge Art Gallery and the Art Gallery of Peterborough.

Heidi Kellett engaged critical theory, psychoanalysis and the art of tattoo to focus on the human body as a site of capitalist and political trauma. Her major research project examined the work of Canadian artist John Scott, particularly his impulse to incise onto various surfaces throughout his oeuvre. Heidi has presented papers for the 2007 Art Historians Association symposium, Art and Power, at the University of St. Andrews, Scotland and her writing will appear in INFERNO: Journal of Art History. She curated Art of the Human Canvas at the Museum of Canadian Contemporary Art, Toronto, in 2008. Heidi completed her Bachelor of Arts, Honours, in Art History at York University.

Meaghan Lowe’s major research paper, Dreamworld and Reality: the Photographic Artworks of Shana and Robert ParkeHarrison, explored the ParkeHarrisons’ photographs in comparison with those of Edward Burtynsky and Ilkka Halso. Her Diploma in Curatorial Studies included an internship at the Art Gallery of Ontario. Meaghan completed her Bachelor of Arts at Queen’s University, where she worked at the Agnes Etherington Art Centre.

Jennifer Matotek is interested in underground film and video, contemporary conceptual art, relational aesthetics, collaborative curatorial projects and the history of women working within Canadian art institutions. She is currently pursuing the combined MA/MBA degree program at York University. Jennifer has worked in programming, communications and education at a variety of art institutions, including The Power Plant, Blackwood Gallery, Oakville Galleries and the Art Gallery of Hamilton. She completed her Bachelor’s degree in Art and Art History at the University of Toronto and Sheridan College.

Tabitha Minns’s academic and professional work investigated the relationship between art and technology and the possibility of interdisciplinarity, specifically between cognitive science and art theory. Her research centered on creativity, learning and emotion in human-computer interaction and artificial intelligence and, in particular, on the work of interactive installation artist David Rokeby. Tabitha interned with Bruce Ferguson, Director of Exhibitions, at the Art Gallery of Ontario, and worked as the Curatorial Assistant at the Agnes Etherington Art Centre in Kingston. She currently works for the Centre for Contemporary Canadian Art (CCCA) database and recently published a review in Fusemagazine. Tabitha completed her Honours Bachelor of Arts at Queen’s University with a curatorial and research affiliation at Modern Fuel artist-run centre.

Srimoyee Mitra is a curator and writer. She has worked as the Art Writer for publications in India such as Time Out Mumbai and Art India Magazine. From 2008-2011 she was the Programming Co-ordinator of SAVAC (South Asian Visual Arts Centre) in Toronto where curatorial projects included Crossing Lines: An Intercultural Dialogue at the Glenhyrst Art Gallery, Brantford. Mitra has participated in conferences across Canada, most recent ones include Emerging Approaches to the Sustainability in Art, part of the major exhibition Land/Slide: Possible Futures in October 2013, Critical Dialogues in Curatorial and Art Practices organized by the Ontario Arts Council in March 2013 and York University’s Connect/ Reconnect in fall 2012, where she was the keynote speaker. She has been published in Scapegoat Journal, Fuse and C Magazines in Canada and is currently the Curator of Contemporary Art, Art Gallery of Windsor where her ongoing exhibition Border Cultures: Part One (homes, land) was awarded the “2013 Exhibition of the Year” at the 36th Ontario Association of Art Galleries Award.

Jessica Newton focused on perceptions of contemporary Inuit life as reflected in the work of current Inuit artists such as Annie Pootoogook and Mark Pitseolak. Through the graduate program’s internship program, Jessie worked with the curator of contemporary Inuit art at the Museum of Civilization in Hull, Quebec. She received her Bachelor’s in Art History from the University of Toronto where she volunteered for four years at the University of Toronto Art Centre.

Lia Papadopoulus’ research concentrated on the critical practice of staged narrative photography and examined how narrative is implied and subverted within an image. Her major research paper investigated the photographic work of Canadian artist Karin Bubas. Lia was the selected candidate for the York International Internship at the Gori Institute of Site-Specific Art in Italy. She received an Honours Bachelor of Arts from Queen's University.

JoAnn Purcell is interested in both modern and contemporary art, and the intersections between them. Her major research project, The Representation of the Pregnant Nude, examined issues of censorship, taboo, feminism and the abject that factor within canonical representations in Western Art. JoAnn has been a full-time faculty member at Seneca College for the past seven years, teaching animation, drawing and colour theory. After receiving her Bachelor of Science at the University of Toronto, she worked as a nurse in psychiatry for 15 years while completing her diploma at the Ontario College of Art and Design.

Lauren Rosenblum’s research focused on modern and contemporary art. Her major research paper centred on Elsa Schiaparelli’s fashions of the late 1930s and their relationship to the Surrealist movement, psychoanalytic theory and the socio-cultural context of the inter-war period. Lauren interned at the Toronto office of the auction house Christie’s and her writing has been published in Canadian Art. She completed her Honours Bachelor of Arts at the University of Toronto.

Leah Turner is interested in contemporary art and curatorial practice. Specifically, she has focused on the recent proliferation of figurative, so-called "naïve" drawing. Her major research paper examined the drawings of Marcel Dzama and their relationship to psychoanalytic and Surrealist texts. Leah interned with the City of Toronto's Nuit Blanche, contributed research to curator Barbara Fischer's project on the history of Canadian conceptual art and currently works as a gallery assistant at the Magic Pony gallery. She has been published in the National Gallery of Canada's Art Metropole: The Top 100 exhibition catalogue, and contributes regularly to Color magazine. Leah completed her Honours Bachelor of Arts degree in Art History at Carleton University.

Jenna Winter’s research interests have varied between Canadian art, European art and Asian art. Her major research project focused on Canadian artist Joyce Wieland, specifically her 1971 True Patriot Love exhibition at the National Gallery of Canada. Jenna completed internships with the Office of the Director, Collections and Research at the Art Gallery of Ontario, and with the Head of Exhibitions and Collections at Museum London. She obtained her Honours Bachelor’s in Art History, with a minor in History at McGill University.

Amy Zurrer’s major research paper investigated replicas of classical statues and architecture in North America. She received a diploma in Journalism from Loyalist College in 1999 and worked as a journalist for several years before returning to the University of Western Ontario to complete her Bachelor’s in Media Information and Technoculture.


Melissa Bennett analyzed photographic work in relation to theories of past, present and temporality. Her major research paper, entitledTwoViews: The Performative Photographic Portraits of R.T and Bruno Rosier, theorized how these photographers worked with time and light. In 2007 she was awarded the Toronto Dominion Internship in Collections Management at the Canadian Museum of Contemporary Photography. Melissa received her Bachelor of Fine Arts from the Nova Scotia College of Art and Design.

Laura Berazadi’s research focused on virtual art and curatorial strategies. Her interests centered on the ways in which curators and art institutions adapt themselves to web based art, and examined what this means practically as well as theoretically. In 2007, she co-curated Shift at the Gales Gallery. She has also worked as an editor for Terminus1525, a bilingual virtual arts community, and as a content assistant for the Art Gallery of Ontario’s online project, Collection X. Laura graduated with a Bachelor of Fine Arts from Concordia University.

Heather Caple’s work centered on the phenomena of gift giving in the middle ages. She studied the iconographic, economic and religious significance of silk fragments woven before 1250CE. She concentrated principally on two Byzantian silks woven between 400 and 1200CE found in the Shrines of St. Servatius in Maastricht, and Charlemagne in Aachen, as well as those in the treasury of Sens Cathedral. She received an Honours Bachelor of Arts from York University.

Lisa Daniels’ research interests centered on critiques of conceptual art and questions of aesthetics. She has inquired into the curatorial focus of corporate art, and particularly whether a relational aesthetic discourse can be considered in relation to corporate art collections. She received her Bachelor of Fine Arts from the Nova Scotia College of Art and Design.

Mina Kang’s research interests centered on contemporary art, curatorial methods and cultural representation in museums--specifically museological and curatorial practice in Canadian art. Her primary interest resided in the problems of cultural representation and identities in museum practice, in particular how non-western cultures are represented in public institutions. Her major research paper examined the past work of Jin-me Yoon and her more recent work in the series ‘Unbidden’ to critique how racist discourse continues to function through language and visuality. Mina received her Bachelor of Fine Arts from the Ontario College of Art and Design.

Cameron MacDonell explored the semiotic language of Gothic-revival architecture. His research focused on investigating the rhetorical operations of Gothic-revival architecture as a structure that depends upon the willingness, even the willfulness, of the recipient to read the building in terms of a finite and stabilizing past. He graduated with an Honours Bachelor of Arts from the University of Windsor.

Kathryn Simpson’s research analyzed the photographic work of Canadian artist Janieta Eyre’s Motherhood Series. In this project, she was particularly interested in engaging methodological approaches stemming from psychoanalysis. Kathryn is currently working towards a PhD in Art History at Concordia University. She graduated with an Honours Bachelor of Arts in Philosophy and Art History from York University.

Barbara Staulus’ research analyzed a series of digitally manipulated, panoramic landscape photographs by Canadian artist Isabelle Hayeur. Staulus looked at the ways in which Hayeur's constructed images demystify and denaturalise the idea of landscape, and subtly expose ideological conceptions of nature. In particular, Staulus' research investigated the commodification and consumption of nature through tourism, spectacle and other power relations. Her undergraduate degree is a Bachelor of Fine Arts from Concordia University.

Kathryn Stephenson examined the work of Brian Jungen and Rebecca Belmore. In particular, she focused on how issues pertaining to cultural hybridity and translation are evoked in their respective works. Kathryn received her Bachelor of Arts from the University of British Columbia.

Catherine Sutton’s research focused on discerning how mnemonic and pictographic sign systems have functioned in prehistoric aboriginal artifacts. Her major research paper explored how Iroquoian inscriptions produced in various materials functioned as supports to oral narratives and rituals. Before her studies at York University, Catherine received a Bachelor of Arts from the University of Toronto and a Master of Arts from Columbia University. She is currently continuing her research while pursuing a PhD in Anthropology at York University.

Robert Vanerberg’s research interests focused on investigating the relationship between the work or art and the viewer. His major research project examined Korean-Canadian artist Jin-me Yoon’s series, A Group of Sixty-Seven. He received his Bachelor of Arts from Calvin College.


Tamar Huberman’s research interests revolved around issues of identity and representation. In particular, she studied the way private collections shape public institutions and the way this impacts popular notions of art, ethnography and the shaping of a Canadian national identity. Tamar pursued her Master’s Degree in Art History in conjunction with an MBA in Arts and Media at the Schulich School of Business. She completed her Bachelor of Arts at Queen’s University.

Min-Jeong Kim’s interests ranged from contemporary media and multidisciplinary art to critical theory with emphasis on interdisciplinary methodologies. Her major research project focused on identity formation and the representation of the cyborg body. She used two Canadian exhibitions which centered on the figure of the cyborg as case studies to challenge traditional conceptions of gender and race. M.J. received her Honours Bachelor of Arts in Cultural Studies at York University.

Natalie Spagnol focused on contemporary Canadian photography, film and video installations, as well as curatorial practice. Her major research project examined strategies in the institutional display of photography and new media. Analysing an exhibition of photographs by Lynne Cohen at The National Gallery of Canada, Natalie investigated the ways in which the spatial design of an installation can provide points of entry and exploration for the viewer without resorting to directive signage. Her undergraduate degree is an Honours Bachelor of Arts in Art History, with a minor in Film Studies from Carleton University.

Renee Stephen’s interests centered on contemporary art, curatorial methods, and museum practices - especially in the Canadian context. The focus of her major research project was folk art influences on the regionalism of Greg Cunroe’s work. While at York, she pursued the joint MA/MBA program in conjunction with the Schulich School of Business. Renee completed her Honours Bachelor of Arts at the University of Western Ontario, with a concentration in Art History and Criticism.

Pandora Syperek’s research focused on representations of gender and the body in 19th and 20th century visual culture. In her major research project, she investigated instances of censorship surrounding the female nude in interwar Canada. Her other interests included constructions of femininity in relation to modernism, exoticism, and fashion, and fetishistic acts of collection and display. Pandora completed the Graduate Diploma in Curatorial Studies and the University Teaching Practicum. She received her Bachelor of Arts in Art History and Studio Art at Concordia University.

Marieke Treilhard’s interests reside in contemporary art and critical theory, with an emphasis on interdisciplinary approaches to research. Her major research project explored the transgressive representation of bodies in figurative painting, mobilized by some artists as a counter aesthetic to interrupt the fetishistic tradition of the figurative. She graduated with a Bachelor of Arts in Art History and Comparative Literature from McMaster University.

Juliana Zalucky’s interests centered on Canadian contemporary art and museum and gallery practices. Her major research project examined the role of the Toronto art market in developing and sustaining the international visibility of Canadian artists. She completed the Graduate Diploma in Curatorial Studies. Juliana received her Honours Bachelor of Arts from the University of Toronto.[/toggle]


Debra Antoncic’s research interests centered on the history of Canadian photography and the discourse surrounding collectors and collecting practices. Her major research project focused on representations of Canadian nationalism featured in the photo essays of Toronto photographer Michael Lambeth. Her recent projects have included co-curating the McMaster-Goethe Project at the McMaster Museum of Art. Currently a PhD candidate at Queen’s University, Debra graduated with a Bachelor of Arts in Art History from McMaster University and a Bachelor of Arts in History from Laurentian University.

Marcie Bronson’s interests included art criticism and curatorial practice and the impact of these fields on the construction of the canon of art history. Her research examined how the changing values and expectations of the developing Toronto art community shifted throughout the second half of the twentieth century, and how these changes affected the career of modernist painter Graham Coughtry. Marcie completed her Bachelor of Arts in Art History at McMaster University and currently holds the position of Assistant Curator at Brock University’s Rodman Hall Arts Centre where she is responsible for its permanent collections and educational programs.

Martha Crombie's research focused on the relationship between the visitor and
the constructed environment within the context of exhibition. Her major research project examined Queen Victoria Park at Niagara Falls as a site where culture has been inscribed onto nature. Within this project she explored both conventional viewing experiences and novel techniques of exhibition practice. Martha received a diploma from the Ontario College of Art and Design and graduated from McGill University with a Bachelor of Science in Biology.

Claire Eckert focused on contemporary art practices as they relate to sites of reception, whether the art institution, the art community, or the street. Her interests centered on the social and ideological impact of art upon audiences, particularly how notions of collective and individual identity are (in)formed within interventionist and time based art. Claire received her Honours Bachelor of Fine Arts from Queen’s University.

Sarah Hollenberg’s research explored the relationship between regional popular culture and conceptual art in Eastern Canada in the 1960s and 1970s. Sarah has published reviews and feature articles in various periodicals including Arts Atlantic, International Contemporary Art and Sculpture. During summer 2007, she served as a visiting lecturer in the Department of Historical and Critical Studies at the Nova Scotia College of Art and Design (NSCAD). Sarah is currently pursuing a PhD in Art History at the University of Southern California. She received her Bachelor of Fine Arts from NSCAD.

Nadia Kurd’s research focused on Islamic art and architecture in relation to issues of cultural representation and postcolonial theory. She received her Bachelor of Fine Arts in painting and mixed media from the University of Ottawa.

Anne Merrill was interested in contemporary art, architecture, and museum practice, particularly the work of contemporary artists whose practices were informed by architecture and/or spatial relationships. Her major research paper entitled Translating Space: The Photomontages of Gordon Matta-Clark, discussed Matta-Clark’s photomontages as two-dimensional translations of his three-dimensional sculptural works. Anne viewed the photomontages as original works through which the artist’s sculptural pieces would survive. She received a Bachelor of Fine Arts in Print Media from Concordia University.

Laura Milligan’s research focused on the links between technology and memory, and on the archive as a technology of memory. Her major research project examined the time-based recordings of media artists Janet Cardiff and Atom Egoyan. She also completed the Graduate Diploma in Curatorial Studies. Laura received a Bachelor of Arts from Queen’s University.

Sarah Parrish’s principle field of interest was contemporary visual art, particularly sculpture, installation and photo-based works. Her major research paper focused on the material expressions of femininity in the work of Toronto-based artist Catherine Heard, where she examined constructions of the categories of sex, gender, and social normalization in light of psychoanalytic, postmodern, poststructuralist and feminist theory and analysis. She received her Honours Bachelor of Art History and Women’s Studies from York University.

Roslyn Pivarnyik’s interests pertained to the emergence of artist-run culture in Canada between 1970 and 1980. Her research focused on artist-run centres in Southern Ontario, particularly Niagara Artists’ Company (NAC) in St. Catherines where she served three terms on the Board of Directors, and was its President from 2006-2007. Roslyn’s major research paper, The House That NAC Built, argued that the Ontario Art Council’s rigid standards for artist run centres resulted in a homogenization of Canadian cultural identity, which contrasted with the mandate of the Niagara Artists’ Centre to foster the work of local artists and promote regional identity. Roslyn received her Honours Bachelor of Arts in Visual Arts from Brock University.

Siobhan Smith's research covered a wide range of studies in Canadian art history, including feminist theory and museum practice with an emphasis on issues relating to gender, sexuality, race, nationality, and class. Siobhan's major research project explored curatorial controversies arising from the relationship between private and public interest at the McMichael Canadian Art Collection. In conjunction with her Master's degree in Art History, Siobhan completed a Graduate Diploma in Curatorial Studies and a University Teaching Practicum. She graduated with a Bachelor of Arts in Art History and Women's Studies from the University of British Columbia and a Diploma in Studio Arts from Capilano College.


Jennifer Anderson’s research focused on 19th century Canadian works on paper. Her major project explored the role of women in the production of pictorial media in late nineteenth century Toronto. She received her Honours Bachelor degree from Queen’s University in Art History and Classics.

Jen Dale’s interests encompassed feminist theory and contemporary Canadian art. Her research focused on the artists involved with Toronto’s Isaacs Gallery during the 1960’s, especially the Pop Art work of artists Dennis Burton and Joyce Wieland. In her major research project, The Gaze of Garterbeltmania, Jen used feminist methodologies to critique Burton’s “Garterbelt” series. Prior to attending York University, Jen received her Bachelor in Art History from the University of Waterloo.

Emily Evans examined how the stylistic developments in church architecture of late 1800’s Toronto challenged the dominant Gothic revival style of the period. Her analysis focused on the work of Edmund Burke and Eden Smith, two progressive architects who integrated Romanesque and British Arts and Crafts tendencies into their buildings during Toronto’s period of rapid expansion. She received her Bachelor in Fine Arts and Art History, with a minor in Women’s Studies from Mount Allison University.

Cynthia Foo’s research centered on the role of virtual exhibitions and the challenges and possibilities of adequate community representation online within revisionist debates on Canadian identity. Cynthia’s analysis of Ken Lum’s There Is No Place Like Home photographic series was published by RACAR (Canadian Art Review) magazine. She has worked on the Board of Directors at Gallery 44, an artist-run centre in Toronto, and been published in Fuse magazine. She completed her Bachelor in Economics from the University of British Columbia and an Honours Bachelor in Art History from the University of Victoria.

Candace Iron examined ecclesiastical architecture in 1800’s Canada. In particular, she analyzed the work of T.J. Rutley, an architect from Chatham, Ontario who she described as “a master of Protestant church design.” She has been involved in the DAREarts program where she taught architectural studies to children in at-risk communities. Candace recently presented a paper at the Universities Art Association of Canada conference on architect Henry Langley’s church designs.

Tara Marshall analyzed the use of irony in the filmic language of Joyce Wieland’s “corrective” films and examined how this strategy allowed the artist to comment on the impact of American consumerism and imperialism on Canadian culture. Her writings have been published inCanadian Art magazine. She holds a Bachelor of Art History from McGill University.

Michelle Matthews researched the 1980’s New Urbanist design movement in North America. Her major research paper, informed by a three-month internship at the Canadian Centre for Architecture, focused on the movement’s radical impact on the Canadian urban landscape. Before coming to York, Michelle graduated with a Bachelor of Art History from the University of British Columbia.

Rosalynd Ronson focused on women artists living in post-World War II Toronto whose works privileged the representation of highly personal domestic spaces. Rosalynd studied the politics of exhibition, display and collecting, and the role that museums and galleries have played in the development of Canadian art and culture. While at York, she co-organized Intersections, the annual graduate art history symposium and worked on The Centre for Contemporary Canadian Art (CCCA) website. She graduated with a Bachelor of Arts degree in Art History from the University of Guelph.

Alumni Dossier Service

A dossier service is provided to support graduate students, alumni and postdoctoral fellows by storing reference letters and transcripts in one convenient location to save time, money and aggravation during the stress of an academic job search.

While there is a fee for this service it actually greatly reduces the costs if transcripts are needed. Students would order the transcript once and have it sent to the dossier service (cost $25). The service can send it as a confidential document as many times as required for a processing cost of just $2.50 to $3.00. If the student had to arrange via the Registrars office the cost would be $25 (Canadian destinations); $40 (U.S), $75 (International) EACH TIME.

In addition, the service can alleviate issues for students (or post-docs) which arise when faculty may be unavailable due to research, sabbatical, and travel demands as well as when the student is located elsewhere - requests to send transcripts or letters are made via email. Quick response time is another benefit as Dossier requests will be mailed within 4 business days.